本文以故宮博物院2003年舉辦的「福爾摩沙:十七世紀的台灣、荷蘭與東亞」特展為例,探討展示政治、史觀塑造、國族工程與象徵經濟等議題。展覽及其鑲嵌所在的博物館,是塑造與規範歷史再現的真理體制,也是權力規訓的操演場域,體現為特殊的展示技術和觀看之道。本文分析這個特展的主題、物件、呈現方式、空間配置和論述,旁及策展過程的制度和組織脈絡,釐析其展示政治,聚焦於該項特展與台灣主體史觀形塑及國族建造工程的關聯,指出這個展覽做為文化治理機制的一環,企圖發揮正當化和排除特定歷史詮釋的作用。然而,做為象徵經濟的一環,該特展也不免於營利與市場邏輯,顯現於媒體集團的宣傳操作及週邊紀念品販售。本文希望藉由分析這項藉由展覽來反身(再)定位台灣的企圖,呈現當代台灣社會與文化場域的多重矛盾特質。
The ”ILHA Formosa: the Emergence of Taiwan on the World Scene in the 17(superscript th) Century” is a special exhibition of National Palace Museum in 2003. This article examines the exhibition through multiple perspectives such as politics of exhibition, narrative of history, nation-building and symbolic economy. Exhibitions and museums are regimes of truth that shaping historical representation, and fields for power regulation-performance embodied in special technologies of display and ways of seeing. Firstly, the authors analyses the objects, display plan, discourses of the ”Formosa” exhibition, and organizational apparatus for the preparation process, showing the politics of exhibition. Secondly, we focus on discussing how the display was related to the historical narratives about Taiwan's subjectivity and nation-building engineering, pointing to the normative and ideological functions of museums and displays as apparatuses for culture governance. However, museum displays are also the locus of symbolic economy, and follow the logics of profit and market which reveal in media promotion, publicity, and gift shop selling. In sum, this article hopes to reveal the multiple and contradictory characters of contemporary Taiwan through analyzing this attempt for reflexively (re)positioning Taiwan.